Oh goodie. A single review disc with three tracks on it to critique! Stop it RedTrack, you’re spoiling us!
'The Trier' starts with the lead singer waking up which, when you think about it, is how most of us start the day. It’s good to know that Red Track start the day well and then, presumably, head into the studio to write inoffensive songs designed exactly for sunshine and warm days.
Of course when listening to the lyrics, we discover the lead singers relationship has just ended after what appears to be a long period of drifting apart and this song is the child of that, which if a song that sounds as upbeat and content as this one when the singer is lamenting about something painful, I imagine the band would probably burst into some Scooter covers when they’re really pleased about something.
'The Trier' isn’t a difficult song though. It’s structurally and lyrically easy to listen to and while it’s not strictly a guitar song and does have a series of meticulously planned little synth inserts; it does feel a little safe. It does, as all good songs probably should, build into its sublime chorus well though when a new life breathes into the track. Nevertheless, this song does feel exactly like the summer sun most of us have experienced,the last few days have been craving for is going to stay forever. It’s that one word we usually hate using, but I can find no better term for this jangly slice of pretty indie-pop.
Nice.
However, while 'The Trier' is a good song if a little unspectacular, the bands second offering of the disc 'Catch Me Out' pretty much barges 'The Trier' off the CD and takes pride of place.
Shades of the Kooks and the Pigeon Detectives first albums may sound like the comparison from hell, but this song is exactly what both bands have been trying to create for years. Laid back vocals mix with an urgent guitar beat to form something really quite exciting, yet completely natural.
Then it slows right down with 'Anything', a delicate, simple ballad layered over light synths and a carefully administered piano. Sometimes the simplest messages are the best ones and while 'Anything' isn’t going to give the kings of the modern piano ballads Keane, Coldplay or Snow Patrol any nightmares, it’s a genuine, polite and emotional song that ends before you get any kind of answer. Much like most relationships, I guess.
'The Trier', therefore, tries very hard indeed, as I shamelessly fail to resist the obvious wordplay. Try a little harder and it would have been truly excellent.
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